This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I know I do not need to say more. Everyone is so familiar this song. And the special thing about this song? In my humble opinion, this probably is the fastest melody that any music director has got Rafi Sb to sing. The year is 1957 and the film – ‘Mr X’.

And then, this same music director, ten years later, has got the booming voice Mahendra Kapoor to sing the softest of the melodies – “Chaand Bhi Koi Deewaana Hai. . .”. The year is 1968 and the film – ‘Apna Ghar Apni Kahaani’.

Remembering N Datta – well quite late for his anniversary (both of which fell in December). And so this post has also been in the making, for well about a month.

Searching for information about him, not much details are available about his early years. So much so that multiple different web sites repeat mostly the same few sentences. They all write that he was born 1927 in Aroba, a small village in Goa. And that he ran away from home at the age of 12, and came to Bombay to learn music. Incidentally, I also came across one article online, which is based on an interview with Roop Naik, son of N Datta. The information provided by him is different from what is available everywhere else.

According to Roop Naik, his father N Datta (full name Dattaram Baburao Naik) was actually born in Bombay. He was not even two years old when his father passed away. After this tumultuous event in life, he and his mother move back to their native village, where the child Dattaram was brought up by his maternal uncle. Close to their village home, there was a temple, where weekly sittings of bhajan singing used to take place. He was quite enamoured by the ‘Abhang’ singing of these Bhajans, and never used to miss a session. During this period, he learnt to play harmonium, and would sometimes accompany the singers in the temple.

Another high point for him used to be when the travelling performing groups would visit the village. Music was very much within him, and so he was attracted by these public performances. And so, at home, he once expressed his wish to learn music. The dressing down that he received from his uncle, convinced him that his passion to learn music, and his family’s environment simply did not go together. So, at the age of 12, this young pre-teen kid, ran away from home and came to Bombay.

This period of his life, before he started getting recognition in the industry, is an unknown. No documented information is available. Lata Mangeshkar had mentioned once that she did meet him in 1946 (he would be 19 years old then), and that he was working as an assistant to a music director whose name she recalls as Kedar Shinde. The Ed. Note with this sentence observes that she probably was talking about Ramakrisna Shinde, a music director of Marathi films, who later also gave music under the pseudo name of ‘Hemant Kedar’.

The young aspirant worked as an assistant to Ghulam Haider Sb. He would also continue to participate in temple programs. He would be part of the ‘prabhat feris’, a very early morning bhjan kirtan session, that is taken out in a procession format, passing through the streets and by-lanes of a certain neighbourhood. It is said that at one of these ‘prabhat feries’, Burman Dada (SD Burman) witnessed his singing, and called upon him to know more about him and his capabilities. That started a long and fruitful collaborative partnerships, and the young Dattaram worked as an assistant in films like ‘Baazi’, ‘Bahar’, ‘Sazaa’ and ‘Ek Nazar’ (1951), ‘Jaal’ (1952), ‘Jeevan Jyoti’ (1953) and ‘Angarey’ (1954).

During the making of ‘Baazi’, Dattaram was introduced to future stalwarts like Sahir Ludhianvi and Raj Khosla, and struck lifelong friendships. When Raj Khosla got his first break as an independent director (film ‘Milaap’, 1955), he got N Datta the first assignment as an independent music director. And from that juncture onward, one sees his career got from strength to strength – ‘Marine Drive’ (1955), ‘Chandra Kanta’ (1956), ‘Hum Panchhi Ek Daal Ke’ (1957), ‘Light House (1958), ‘Sadhna’ (1958), ‘Black Cat’ (1959), ‘Dhool Ka Phool’ (1959), ‘Dharam Putra’ (1961), and more.

I have just listed a sampler. The total films listed for him are 55. Of these, about 22 films came in or before 1961. Two important points to be noted here. 1959 seems to be his most prolific year – seven films released this year, with music by him. Secondly, his friendship with Sahir Ludhianvi, got him his first assignment with the banner of BR Films. His first film with BR Chopra is ‘Sadhna’ (1958). Next, we him again with the BR banner in ‘Dhool Ka Phool’ (1959) and ‘Dharamputra’ (1961). Just the names of these films are enough indication as to how wonderfully this relationship was developing, and the team of Sahir Sb and N Datta was producing phenomenal music together.

But then, fate intervened, and quite cruelly too. Just in his mid thirties, N Datta suffered a heart attack. The episode left him out of circulation for some months. He recovered. However, besides the health issues now in life, N Datta started another battle – a fear for his own life. It made him somewhat of an introvert person. He would be very afraid for his life, because of any episode of ill health. And his work suffered too. By the time he came out this medical emergency, BR banner had moved on. Ravi had been engaged as the music director. The first outcome was ‘Gumraah’. The commercial success of this film kind of excluded N Datta from the BR brand, for all times in the future.

The quality of his work also suffered. He continued to compose, and continue to create some fabulous and memorable songs. But his work would now be confined to B/C grade films. He continued to work till 1980 – his last film released is ‘Chehre Pe Chehra’. After that, no work probably came his way. He passed away in 1987. His later years were a struggle to keep afloat.

With today’s song, I introduce this film ‘Albela Mastaana’ from 1967. The film is produced under the banner of Pragya Pictures, Bombay and is directed by BJ Patel. The star cast includes Kishore Kumar, Bhagwan, Kaveri, Kundan, Aruna Irani, Nayna, Rajan Haksar, and Asha Nadkarni amongst others. Five songs are listed for this film, all being written by Prem Dhawan.

This song is a wonderful melancholy that is sung by Asha Bhosle. The video of this film is now available. In the visual, we see Asha Nadkarni lip syncing this song on screen. A song that in as of itself, needs to placed together with such Asha Bhosle songs like “Baithe Hain Rehguzar Par. . .” and “Tujh Se Bichhde Tere Deewaane To Mar Jaayenge”. Lovely rendition, pulling at the strands of the heart.

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Here is the sixth and final song from “Ek Mutthi Aasmaan”(1973) to appear in the blog. The song is sung by Asha Bhonsle. Indeewar is the lyricist. Music is composed by Madan Mohan. The song is picturised as a suspense song where Faryal is shown lip syncing this song in an accusatory tone, charging Radha Saluja with murder. Kamal Kapoor is also present to lend a more suspenseful aura to the proceedings.

With this song, “Ek Mutthi Aasmaan”(1973) joins the list of movies that have all their songs covered in the blog.

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Originally the movie had four songs in it that were composed by Jaidev. Then another song was added as an afterthought which was composed by Sapan Jagmohan. Thus the movie ended up with five songs composed by two music directors.

It is interesting to note that the song song composed by Sapan Jagmohan sounds like a song that someone like Jaidev would compose, whereas the Jaidev compositions sound like Sapan Jagmohan compositions. 🙂

Following are the four songs from the movie that have been covered in the past:-

Four songs from the movie have been covered in the past. Here is the fifth and final song from “Aalingan” (1974) to appear in the blog. This song is sung by Asha Bhonsle and chorus. Jaan Nisaar Akhtar is the lyricist. Music is composed by Jaidev.

The song is picturised as a “dum maaro dum” genre of songs where drug taking youngsters including Zaahira are consuming drugs are are making merry which was quite a fashionable thing to do those days among people who were described as Hippies.

With this song, “Aalingan” (1974) joins the list of movies that have all their songs covered in the blog.

This article is written by Satyajit Rajurkar, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3478

Post No. :

13973

Rare Gems – Laxmikant Pyarelal
————————————
Being a fellow contributor to the ASAD blog, one is privy to being in the WhatsApp group, which while reading through the posts sometime back I came across my name and I was surprised. Atul Ji, the creator of ASAD had mentioned that my name had come up as the one with the longest absence from the group, with my last post more than two years ago.

It’s true and I would like to sincerely apologise to one and all about this. It can be attributed to many reasons including work etc, but it was never the lack of interest. My love for HFM and listening to it (and that too rare songs) is what gives me the maximum pleasure and acts as a real pain killer and a soother of sorts.

I have been meaning to post this song from almost immediately after my last post here. It is as rare as songs can go and would fit in to any programs broadcasted by SLBC (Radio Ceylon for us old timers) like Bhoole Bisre Geet or Jaane Pehchane Geet, etc

I would like to take this opportunity to discuss some aspects of the music of Laxmikant Pyarelal, the composers of this fab song. It is a fact that I started liking and then following their music immediately after the super hit “Bobby” in 1973. What I found was a huge repatriorie of successful and hit songs, right from their first movie as music directors – Parasmani 1963.

Before this they worked as assistants and instrumentalists with Shankar Jaikishan and Kalyanji Anandji. They also helped their friend Rahul Dev Burman during his first movie as composer, “Chote Nawab” (1961). Pyarelal Ji himself told me, during my visit to his house in September of 2013, that Pancham was exactly that – a composer. He had just composed the tunes of the songs from his first movie, but the preludes, interludes, counter melody and the background music was composed and conducted by Laxmikant Pyarelal.

The Laxmi-Pyare Jodi have composed and conducted music for more than 600 movies. According to my friend Bobby Singh Ji, who has thus written on his website (Bobby Talks Cinema) – “Laxmikant, was more inclined towards composing and Pyarelal into the arrangement. In fact Pyarelal is considered to be one of the top 5 arrangers in Hindi Film Music History, with outstanding knowledge of Indian Musical Instruments’ Arrangements.”
The melody of the song in today’s post is simply superb.In fact, Laxmi-Pyare had an uncanny knack of producing real gems for B or even C grade films. The guitar and flute, specially in the postlude is simply mesmerising. The instruments used were Bass Guitar, Electric Organ, Trumpet, Thrombone, Drums, Piano as well as Saxaphone by Manohari Da.

This song is from “Sweekar” released in 1973. The censor certificate is dated 18th May 1973. The movie starred Mahendra Sandhu, Hansa Maker, Namit Kapoor, A K Hangal, Raj Mehra, Shaukat Kaifi, Keshto Mukharjee, Kesho Rana, etc, with a special appearance of Gulshan Arora. It was written and directed by Sudhendru Roy for producers C D Shah and Harish Upadhyay for Filmlands Productions.

I had seen the movie when it was released but have forgotten the story. If any reader can shed some light on the story, kindly do so for the benefit of other readers.

With this song, Sweekar (1973) makes a debut on this blog.

Editor’s note: This song has ended up being as rare as the posting by the contributor. 🙂 I last heard this song in 1970s. Prakashchandra recently sent the lyrics of this and other song from the movie. So there are our regulars who remember this song, no matter how obscure it is. The song is picturised on Hansa Maker and Namit Kapoor, as informed by Prakashchandra.

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The movie had five songs in it according to HFGK, but our calculation shows six, because this movie also had another song excluded from the movie. So far four songs out of sixx have been covered in the blog, and they were all lovely songs.

Here is the fifth song from “Ek Mutthi Aasmaan”(1973) to appear in the blog. The song is sung by Asha Bhonsle. Indeewar is the lyricist. Music is composed by Madan Mohan.

The song is picturised as a mujra song on aruna Irani. It appears that the lyricist was on a bad mood, or he was under instruction from someone to pen the kind of lyrics that he has. The lyrics basically describe the acts of domestic violence the lady suffers at the hands of her beau. Compared to the quality of other songs in the movie. this particular song can be said to be of a lower qquality song that rightly failed to get much popular. But since we try to cover all songs from movies, especially those belonging to the golden era of HFM, we have to cover this song asa well. So here is this song, which I must say I did not like because of its lyrics.

This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3476

Post No. :

13963

“Shaan” (1980) was a movie directed by Ramesh Sippy and produced by Sippy Films. Music was by Rahul Dev Burman and Anand Bakshi was the lyricist. The credits of the movie show a dancer shaking herself to Usha Uthup’s singing and Mohd. Rafi is credited as late Mohd. Rafi. (The release date of the movie was 12 Dec 1980.) Kishore Kumar, Lata Mangeshkar, Usha Mangeshkar and RD were the other singers.

Amitabh Bachchan- Shashi Kapoor- Shatrughan Sinha were the male lead with Sunil Dutt being credited as special appearance. Rakhee- Parveen Babi- Bindiya Goswami were the female lead with Helen and Bindu putting in guest appearances. Johnny Walker headed the supporting cast and Mazhar Khan made his debut in this movie and Kulbhushan Kharbanda got his first villain role, though the movie didn’t do the same wonders for him as Ramesh Sippy’s previous “Sholay” did for Amjad Khan. Salim- Javed were the script writers. The movie was of the typical-Bollywood-masala genre. Sunil Dutt played an upright cop with Amitabh and Shashi as his time-wasting, happy-go-lucky, “naalaayak” brothers who are jolted to being responsible persons when their brother gets gruesomely-murdered. Then the movie follows standard lines of the brothers seeking out the villain with the help of Shatru and entering the villain’s den in disguise as folk dancers etc. in between all this they also find time to con a few people, fall in love with the heroines, have lover’s tiffs (roothna manana etc.) That gives scope for around six/ seven songs in the movie of which two are love songs, one a club dance, etc. etc.

Today’s song is the club dance song which is in the vocals of Asha Bhonsle. The lead actors are present with the one-point mission of relieving Bindu (a maharani of some XYZ riyaasat) of the diamond necklace she is wearing. Bindiya Goswami and Johnny Walker have newly formed a team with Amitabh and Shashi Kapoor whereas Parveen Babi has made her own plans. I remember, at the time when this movie released, there was a lot of debate regarding the opening lines of the song. The version that used to play on the radio made the opener sound like Hema Malini’s voice and what was present on the audio cassettes sounded like Parveen Babi herself. And finally, what appeared onscreen sounded like Asha Bhonsle. At that time, in Binaca Geetmala, Ameen Sayani had remarked on this but now I can’t recall what was the final outcome of the debate on this point. But that need not stop us from enjoying the song today, right?

On the occasion of the 71st birthday of Ramesh Sippy, the maker of movies Andaz, Seeta aur Geeta, Sholay, Shakti, Saagar, Shaan etc. we are having the third song from Shaan. It also helps us in remembering Parveen Babi who passed away on 20th January 2005. The song shows Parveen Babi in what she was best at- a smiling glamourous beauty with luxuriant hair.

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3476

Post No. :

13962

Missing Films of 1960s – 50
– – – – – – – – – – – – – – –

Films get made, they are processed and censored, they get released – and quite a number of them simply fade away without a trace. The fate is shared by many a films. Unless the film was a success, or was produced by a big production house, or had a cast of actors or music director associated with it, who were well known.

I do not mean to say that all films were disasters, and were financial debacles. No. Rather many of the B/C grade adventures and stunt type films, would actually do very good business in the 2nd and 3rd tiered circuits, catering to a class of audience, who were avowed loyalists to this genre. So they may not have been failures as such. But then, not being associated with big names in the industry, there generally was no one to look after them, once the first and second runs in the theatres were done with. What with the celluloid originals requiring large storage spaces, and also the controlled environment to maintain, most producer simply turned their backs on these films, and moved on with their pockets filled as much as the film’s run could give them. After that, it was the trash heap, or the fire of silver extractors, that simply destroyed so many of these films. ‘Heritage’ is probably a word that our film industry simply does not comprehend.

‘Baaghi Haseena’ is one such film from the year 1965. Categorized as a fantasy cum stunt film, it comes from the banner of Award Films, Bombay and its director’s name is given simply as Ram. An abbreviated list of actors includes Jairaj, Chitra, Sherry, Sheikh and Helen. The first two are the lead pair, Sherry most likely is the villain of the piece, Sheikh is the comic relief, and Helen, of course, is the entertainment attraction for the audiences. And voila, the film is made.

Ok, sorry – songs are needed. So there is a music director – the name is PD Sharma. As I scanned some part of the Geet Kosh, I find no other reference to this name, anywhere else. So this most likely, is the only film done by this music director. I do find a name that might be close – Pandit Damodar Sharma. But that is way back in 1948. In all likelihood, these two are not the same person. I request other knowledgeable readers and friends to add more information here, if available.

The songwriter’s name is lost. The Geet Kosh lists 5 songs for this film, also gives indication that there might be more. The singer names are available and so are the 78 rpm record nos. One possibility is that this detail is probably from the HMV catalogs.

The film has two wonderful solo songs by Asha Bhosle. I present today, one of them, for your listening pleasure. Listening to the words and rendition, it seems very likely that these two Asha Bhosle songs could be performed by Helen. The reason I say so is this – the list of songs contains a Sumam Kalyanpur solo and a Suman-Rafi duet. Likelihood is that the Suman Kalyanpur songs are lip synced by the leading lady, especially that the duet would be picturized on the lead pair. That would leave the Asha Bhosle songs to be picturized on Helen. It is a conjecture that I am making, and not a claim. Once again, I request other knowledgeable readers to please comment on this.

Listen to this wonderfully paced song, whose words are sounding so much like a dance song by Helen. And PD Sharma sir ji – wow and thanks for this music piece. It is kind of sad that we do not find another film listed with your name as music director.

With this song, the 1965 film ‘Baaghi Haseena’ makes its debut on the blog today. Listen and enjoy.

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3474

Post No. :

13953

The film ‘Tere Mere Sapne’ is an intense personal favorite, as are many of Vijay Anand’s films. This film is a very sensitive, rational and balanced view of the healthcare systems in our country, especially in the rural areas. Of course, the time frame is of 1960s (the film released in 1971). The medical profession and healthcare systems have seen unbelievable transformations, especially the brazen and vulgar commercialization of this profession, that was once considered a hallowed service of the people. But maybe more of that later.

I like this film, in all its aspects. I know when this film was released, there were many articles in magazines and newspapers, trying to find and point out technical and medical faults with the film’s many medical scenarios. It was like pointing out the defects in a mango, that one is no doubt enjoying, but still complaining that the skin of the mango is too thick or too thin. 🙂 My counter to this discussion was – please, hold on, this is a film, a dramatization of human situations. The director is trying to tell a story, about a very important profession in the society, attempting to exhibit certain ground realities, and also trying to suggest some approaches. It is not a treatise on anatomy or cardiology, that should be scientifically perfect, but does not tell a story.

In my humble opinion, all aspects of this film are very creditable – be it the storyline development, be it the dialogues and dialogue delivery, be it the performances by individual actors – no matter what is the time that character spends on the screen, be it the pace at which the tale progresses, be it the subtle and overt messages it intends to present, or be it the music and the songs – each one of them being a gem status song. I am sure the readers are familiar with the many songs of this film, and they will agree to this statement. Neeeraj, the poet, and Sachin Da (SD Burman) have collaborated to create and bring a set of such beautiful and meaningful songs. And when one tops that with Vijay Anand’s handling of the song picturization scenarios, it is like ‘सोने पे सुहागा’.

Let us take today’s song for example. This is the penultimate song of this film to be posted (and yes, we should be on the lookout for a Yippeee call for this film, very shortly 🙂 ). The story revolves around a small town, and the small hospital this town has. The senior doctor in this hospital (role played by Mahesh Kaul), who founded this hospital, is in the evening of his life. He is part paralyzed, and not fully capable to handle his duties as the Chief Medical Officer. His wife (role played by Paro), on the other hand, rules the hospital with an iron hand, and does not allow the inability of her husband to manage the setup, to be exposed to the outside world or to the regulatory authorities. Another senior doctor in the hospital is Dr Kothari (role played by Vijay Anand), who has given up his battle with the complexities of life, and is drowning himself in drink, in the anonymity of this small out of the place village. Into this scenario steps in Dr Anand (role played by Dev Anand). A recent graduate, he is fresh young mind with hallowed dreams of serving the poor people.

The situation for the song is that an elderly couple in the village (roles played by Sapru and Dulari), very hesitatingly and bashfully announce to the doctors at the hospital that they are on way to the first child in their lives. There is happiness and good news scenario, punctuated by the sad news that the child, when born, is not breathing. Dr Kothari, the gaynecologist, is drunk and out cold, not in a position to even wake up. Dr Anand saves the day, and brings the child back into the living world, by attempting to and cleaning his windpipe which was blocking the child’s breathing. It is a day of salvation and new life for this old couple. Of course, celebration has to follow.

So the family has a celebration at their home, and this song, a dance by Jaishree T, is part of that celebration. Dr Anand is present, along with other invitees from around the village. Also present is Nisha (role played by Mumtaz) a school teacher in the local school. Of course, the amorous developments have already taken place between the new young doctor and this pretty school teacher. It is a match made in heavens, as they say. OK, but the rest of the story at another time. 😉

As with everything else in this film, even this dance is such an exquisite piece of performance. As I said earlier, in the hands of a master director like Vijay Anand – it has to be so. The performance is nothing short of a full blown onslaught on the senses, that it does not leave anytime for the viewer to breathe. The pace of music is so fast. The lyrics and words are tumbling right on top of each other. Neeraj has knitted together the words that catch you trying to keep pace with understanding them while hearing the next line. Burman Da’s melody, no matter is delivered at Presto speed, and one has to be very alert to keep pace with the music, still comes out to be an exquisite song delivery.

And the performance by Jaishree T – probably the best I have seen from her. The choreographer, Hiralal, has done a real great job in conceptualizing this dance. You may watch it more than once to check – no movements are repeated, even if the lines are being repeated. The dance goes from one breathless set of movements to the next, without a respite. The three minutes and some seconds performance just leaves one breathless, trying to keep pace with the words, the melody, the dancers movements, the dancers expressions – everything so perfectly blended together into a swirl of a pleasurable whirlwind experience. Just watch when Jaishree T dances and moves to the line – ‘sheeshi hoon kewde ke paani’. Or for that matter, just pick any line, and each line is expressed through her movements so exquisitely.

The performance and the words of the song, also work to further develop, whatever it is that is developing between the young doctor and the pretty schoolteacher, for one can catch them exchanging furtive glances as the performance progresses.

A lovely song, a fantastic performance, that I for one, simply am not tired watching it again and again. View, and enjoy, this onslaught on the senses. Exquisite performance all around.

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3474

Post No. :

13950

Missing Films of 1960s – 48
– – – – – – – – – – – – – – –

Going by just the numbers, possibly the ‘Tarzan’ genre of films is the longest such category of films in the Hindi film industry. In the first five decades (from 1931 to 1980), I have tried to pick out the filmography by manual browsing through the Geet Kosh, I am able to locate a total of 15 films that starts with the word ‘Tarzan’ – and this might well be a record in the history of Hindi films.

Debut film for today is one of these Tarzan films – ‘Tarzan Aur Circus’. This 1965 film is produced under the banner of Sargam Chitra, Bombay, and is directed by Shiv Kumar. The brief list of actors includes Azad, Chitra, Sherry, Sundar, Sujata, Rajan Kapoor etc.

The film has six songs listed. All songs are from the pen of Madhukar Rajasthani. And the music is composed by the duo of Husnlal Bhagatram.

The debut song is rendered by Asha Bhosle. The song is an ‘invite’ song in which the lady is trying to incite the gentleman to come and take refuge under the shadow of her tresses. The words by Madhukar Rajasthani are certainly very meaningful. Madhukar Rajasthani, a Hindi poet of significant fame, had some limited forays into the Hindi film industry. He has approximately 18 films to his credits, writing under two names – Madhukar and Madhukar Rajasthani.

A breezy melody from Husnlal-Bhagatram, enjoy this catchy rendition by Asha Bhosle.